Hey Andrew, Glad you enjoyed Dance of the Seasons. These 24-hour films started off as a way to share tips on streamlining the production pipeline, as well as a test to see what we could design, create, and put to tape by the end of a 24 hour day. But the desire to tell a good story along side forced us to rework the schedule, bumping post production out of the 24 hour period. So with DOTS, a group of seven animators, including myself and my co-director Jed Mitchell, came together in an apartment basement on a saturday morning to do this thing, knowing nothing of what we were going to animate. We presented the music to the rest of the group and slowly worked our way into thinking about colors, mood, shapes, and eventually the story which would be driven by the music. As a director I have to be completely clear about what I want, and as an animator I have to get it right the first time, because there's no room to do anything over. Eventually, five of us got into animation, while i stepped another wonderful artist through the layouts. We animated nearly non stop through the night and finished in the late morning just before the clock ran out, because we were out of animation paper. All but one or two minor shots were completely done, along with colored layouts and timing sheets for the whole thing. We got some sleep and Jed and I, with the help of a few others, scanned, colored, and cut the piece together over the course of about two or three full days of work. Every time we do it the schedule is very different, but each time it's a crazy collaborative miracle of animated proportions. :)
2 comments:
I really enjoyed the movie you guys did. Can you explain how you did it in 24 hours. What a great idea. I'd love to know more...
Andrew (Dr Gordon)
Hey Andrew,
Glad you enjoyed Dance of the Seasons. These 24-hour films started off as a way to share tips on streamlining the production pipeline, as well as a test to see what we could design, create, and put to tape by the end of a 24 hour day. But the desire to tell a good story along side forced us to rework the schedule, bumping post production out of the 24 hour period. So with DOTS, a group of seven animators, including myself and my co-director Jed Mitchell, came together in an apartment basement on a saturday morning to do this thing, knowing nothing of what we were going to animate.
We presented the music to the rest of the group and slowly worked our way into thinking about colors, mood, shapes, and eventually the story which would be driven by the music. As a director I have to be completely clear about what I want, and as an animator I have to get it right the first time, because there's no room to do anything over. Eventually, five of us got into animation, while i stepped another wonderful artist through the layouts. We animated nearly non stop through the night and finished in the late morning just before the clock ran out, because we were out of animation paper. All but one or two minor shots were completely done, along with colored layouts and timing sheets for the whole thing. We got some sleep and Jed and I, with the help of a few others, scanned, colored, and cut the piece together over the course of about two or three full days of work. Every time we do it the schedule is very different, but each time it's a crazy collaborative miracle of animated proportions. :)
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